


All That Glitters

by angrylizardjacket (ephemeralstar)



Series: And All The Queen's Men 'verse [3]
Category: Bohemian Rhapsody (Movie 2018)
Genre: F/M, movie trailer
Language: English
Status: Completed
Published: 2019-01-12
Updated: 2019-01-12
Packaged: 2019-10-08 20:45:31
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 1,914
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/17393417
Author URL: https://archiveofourown.org/users/ephemeralstar/pseuds/angrylizardjacket
Summary: Teaser trailer description for Giselle(OC)'s biopic.





	All That Glitters

**Author's Note:**

> Hi, okay so this is really a bit of a weird one. It’s difficult to try and demonstrate such a visual medium through, you know, writing. So this is the teaser trailer for Giselle’s biopic that’s being made around the same time as BoRhap, or like, a little bit before. I think I’m gonna make the plot a separate post, so I guess enjoy this trailer lmao. Big Love to @ginghampearlsnsweettea, who I love and would die for, for being the co-captain of this runaway OC that’s gotten much more involved than I thought it would. I’d really really appreciate feedback on it.

## All That Glitters (2018) | “Midas” Teaser Trailer [HD] | 20th Century FOX

[id: It’s a close up on Young Giselle’s hands playing the piano, playing the opening notes of what is recognisable as  _Trot, Canter, Pirouette (The Show Pony Song)_ , she is wearing gold nail polish. The background is blurry but it shows a pale cream lounge room, an indistinct painting on the wall, and a beige sofa. Her father sits on the sofa, he wears a pale yellow sweater and beige slacks, and sits with one leg crossed over the other, he’s reading a thick, old book.

> **[GISELLE’S FATHER]**  
>  _Have I ever told you the story of King Midas?_

Young Giselle’s hands still on the keys. The image fades through as the brass and drums section of the song come in and  _Trot, Canter, Pirouette (The Show Pony Song)_  plays over the following scenes;

We see a hazy room filled with golden light streaming in through a set of blinds on the right. Giselle sits in the middle of the shot, not facing the camera, on a brown leather sofa. Gold records lining the walls, and in front of her is a large, wooden desk with an ashtray on it, the person behind the desk is blocked from view mostly by Giselle, but it’s Ray Foster; he’s wearing a Hawaiian shirt.

Cut to; Giselle in a classroom, studiously taking notes. It’s mid afternoon, the light coming in hitting her face is a pale, cool yellow; mid-afternoon sunshine. She sits at a pale wooden desk, hunched over, wearing a soft orange sweater, but her pants are not visible. She’s surrounded by other students, all in greys and beiges, all taking notes; she stands out, vibrant amongst them. She looks up sharply, as if to take more notes and we cut to;

She’s sitting alone in a dressing room, looking into a mirror lined with golden bulbs; her hair is slicked back, she’s wearing a white silk slip dress; she’s wearing eyeliner and red lipstick, and is looking at herself a little disbelievingly. She turns to look over her shoulder, as if hearing her name; the camera pans to follow the movement and;

The camera keeps panning, keeping the movement kinetic as we see her on stage, looking back at her band with a nervous smile. She’s wearing a black velvet bouffant number, and the band are all dressed in black waistcoats ensembles with red pocket squares matching her lipstick. The camera pans around until it’s behind Giselle and she’s silhouetted by a warm white light against the darkness. After a beat, the lights come up on the audience to reveal a full house cheering for her.

Cut to; the lights are down on the audience but it’s a close shot of John Deacon watching her from the audience with an expression of awe, stage lights shining in his eyes; he’s on the very right of screen in the foreground. He’s near the middle on the bottom level of the theatre, the people in front of him as all standing, dancing together, some are jumping trying to get her attention. Giselle in the background, out of focus, is swaying to the music, eyes closed as she sings.

We see a wide shot, John and Giselle facing away from the camera, with Freddie Mercury, Roger Taylor, and Brian May in that order facing them. They’re in a rehearsal room, space half setup with a drum kit at the left of screen, a guitar case on the floor to the right of Brian, and a bass leaning up against the wall. The walls are dark wood varnish and all four members of queen are wearing pale or white clothes. Giselle wears a yellow sundress, her shoulders are tense.

Close shot of Giselle and Freddie shaking hands, both in profile, Freddie grinning and Giselle wearing a small smile.

Cut to; Giselle in Ray Foster’s office, the light is still golden, coming in through the blinds, but Giselle looks relaxed, her hair slicked back and wearing a black blouse and pencil skirt, one leg crossed over the other, arms out across the back of the brown leather sofa. She wears a smug smile.

> **[RAY FOSTER VOICE OVER]**  
>  _I’ve never had a single go gold like this before._

> **[GISELLE]**  
>  _It’s a blessing and a curse._

The music starts to really pick up as we get into the chorus, overladen with shouts of various and indistinct reporters as we fly through various headlines ( _‘A GENERATION’S INFATUATION WITH MEDIOCRITY’, ‘STEALING FROM ROYALTY’_ accompanied by a picture of Giselle and Freddie having lunch together,  _‘“JAZZ ROCK” PERFORMERS, POINTLESS AND PANDERING?”_ ) and interviews with various people ( _‘The Secret Life of Giselle’_  a very smug looking former assistant smiles at the camera, sitting primly as she’s interviewed. /  _‘_ She  _Should Be So Lucky’_ an angry reporter in a suit rants at the screen, flicking back and forth between the video of Giselle’s ‘the should be so lucky’ comment. / ‘ _Songbird of a Dying Genre_ ’ interviews with critics ( _all of them old white guys_ ) who just wave her off and roll their eyes.)

We zoom out of this final clip to see a wide shot of Giselle sitting at a desk at the very right of the screen, lit by the warm white light of a lamp while the rest of the room is lit by the cool blue light of the night sky streaming in through a large set of glass doors that separates her from the television that’s running the slander piece on her.

Close up over her shoulder reveals her to be writing the lyrics for  _Dinner and a Show_  and the music seamlessly transitions into a fast-paced version of  _Dinner and a Show_  as she rips the page from her notebook. The page moves to cover the screen for a moment and when it comes away we’ve transitioned to;

Giselle in her first performance at  _Top of the Pops,_  singing to a cheering crowd. She’s wearing a black, floor length slip gown with glass beaded detailing, and black gloves with red glitter and sequins on the hands, reminiscent of blood. Giselle belts along with the music as the song ends and there’s an extreme close up on her lips, painted red, with red glitter trailing from the corners. She takes in a shaking breath. The cheering grows louder, drowning out the final notes until it becomes overwhelming, and we can see that Giselle is still breathing hard, shaking a little. The sound and the picture fade out.

> **[GISELLE]**  
>  (She sounds tired, a little forlorn)  
>  _Everything I touch turns to gold._

It shows a close shot of Roger Taylor smiling mischievously at something on his left, he’s holding a cymbal in one hand and offers the other.

> **[ROGER]**  
>  _Is that a promise?_

Cut to a shot of Giselle, standing up and looking over him, smirking and raising her eyebrows at him.

> **[GISELLE]**  
>  (far happier, a little amused)  
>  _I think it’s a threat._

Wide shot; she takes his hand.  _Trot, Canter, Pirouette (The Show Pony Song)_ picks up as soon as their hands touch. The song slowly gets faster over the following images.

Smash cut to the two of them on stage holding their joined hands above their head as they take a bow, in slow motion, facing an arena crowd in the middle of the day. Brian, Freddie, and John stand either side of them, but they’re the only two holding hands. Queen, again, is very casual attire, pale jeans and t-shirts and singlets, and Giselle wears a blood orange cocktail dress, off the shoulder, fitted until it flares out around her hips, falling just above her knees.

Cut to Giselle leaping into Roger’s arms wearing a white, flowing dress, and him in a fitted black tuxedo, he spins her around, kissing her passionately, and the camera spins the opposite way around them. They’re outside, under fresh green trees and dappled sunlight.

Cut to; Giselle and Roger are sitting on either ends of a sofa, their backs to the audience, watching the Rolling Stone Reporter pace back and forth, talking animatedly; the setting is a lot like Ray Foster’s office, however the decor is all modern, slick and white, and the fluorescent light bathes them all in a cold white light. Giselle and Roger share an amused look.

There’s a top-down shot of the two of them lying side by side in bed, but not touching. The bed is large with cream coloured sheets that are slightly tousled and plain white pillows, there’s a lamp on either side, illuminating them both in a peachy-gold light. Giselle wears a pair of pale blue pyjama shorts and a matching singlet top. Roger’s wearing a pair of tight black jeans and an open fringe vest. Neither looks happy; Giselle is contemplative and Roger is frowning. Giselle turns to look at him and the light around the room starts shifting until it’s made clear that these are two different shots side by side, spliced together. Roger reaches up and turns off his light, the whole room bathed in blue light, and he sits with his head in his hands at the edge of the bed. Giselle is still looking at the point where he was, squinting as a few golden-orange rays of a sunset hit her face. Roger looks up, as if he hears something, and walks out of shot.

Cut to a camera whip-panning to a moment during Freddie’s birthday party. Freddie stands in the middle of the frame, back to the camera, wearing his military jacket and ostentatious crown. The world around them is bright and joyful, with gold lights overhead, and the crowd in brown, yellow, and orange attire, but Giselle is wearing a midnight blue cocktail dress and a silver shawl, and Roger’s wearing a white blazer with blue shirt underneath. Freddie is standing between both of them in the foreground, separating them visually, and both look shocked, but Giselle doesn’t even look at Roger before she stalks off camera. He chases after her, both of them heading to the left and we crash cut to;

The music cuts out and we hear and see a door slam in Roger’s face. He’s still in the same outfit as the previous shot, but he’s put in sharp relief by the cold white light of a streetlamp, the rest of the world a dark grey-blue behind him. We fade to black.

A golden spotlight fades in with the first notes of  _Ache_ being played on piano, and the very faint roar of a crowd. All that can be seen is Giselle, illuminated by the singular spotlight, wearing a cool-toned copper, crushed velvet slip dress, tears in her eyes, everything behind her is a void of darkness. She’s holding a microphone, taking deep, shaking breaths.

> **[YOUNG GISELLE VOICE OVER]**  
>  _It sounds like he got everything he ever wanted._

Giselle takes a deep, shaking breath, closing her eyes, the sound of the crowd roaring and of  _Ache_ ’s beginning dies down and a singular tear escapes her eyes.

> **[GISELLE’S FATHER VOICE OVER]**  
>  _Yes, but at a terrible price._

She opens her mouth to sing but we cut to black.

The title card; “ALL THAT GLITTERS” lights up in a block font, with lights in the letters, reminiscent of a Broadway sign. We hear Giselle sing ‘ _I feel the ache, feel the ache, feel the ache_.’ but it’s just her vocals, ghostly, echoing, and a little ethereal. End id.]


End file.
